{"product_id":"cloud-on-page-opposite","title":"Cloud on Page Opposite","description":"\u003ch3\u003eKylan Rice\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"..\/pages\/free-verse-editions\"\u003eFree Verse Editions\u003cbr\u003e\u003c\/a\u003e Edited by Jon Thompson\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRelease Date: 5 January 2027.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInformation and Pricing\u003c\/strong\u003e\u003cbr\u003e978-1-64317-641-3 (paperback, $16.95); 978-1-64317-642-0 (PDF, $9.95); 978-1-64317-643-7 (EPUB, $9.95). © 2027 by Parlor Press, 82 pages.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBookstores\u003c\/strong\u003e: Order by mail or phone. \u003ca href=\"..\/pages\/order-books-4\"\u003eSee our \"Sales and Ordering Page\" for details.\u003c\/a\u003e\u003c\/p\u003e\n\u003c!-- Elfsight PDF Embed | Cloud on Page Opposite --\u003e\n\u003cscript src=\"https:\/\/elfsightcdn.com\/platform.js\" async\u003e\u003c\/script\u003e\n\u003cdiv class=\"elfsight-app-97278572-0aad-4a88-bd34-4ea01c3b8b94\" data-elfsight-app-lazy\u003e\u003c\/div\u003e\n\u003ch3\u003ePraise for \u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003eCloud on Page Opposite\u003c\/em\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"padding-left: 40px;\"\u003e\u003cspan\u003eReading Kylan Rice’s \u003c\/span\u003e\u003cem\u003eCloud on Page Opposite\u003c\/em\u003e\u003cspan\u003e I could feel the poet’s transformation of real-life observation to lyrical language as the work of devotion—earthly, carnal, and holy. Inspired by the ecstatic poetry and journals of Gerard Manley Hopkins, Rice reads clouds and perhaps also feels clouds, metaphorical arbiters of our earthy light. Attentive to “the work of letting day become another day,” these gorgeous poems are intricate and grandiose; philosophical and pragmatic. At the heart of each intention lies love, “the jewel the body is inside the spirit’s open palm.” This poetry held me in its grip. —\u003cstrong\u003eSally Keith\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"padding-left: 40px;\"\u003e\u003cspan\u003eEarly in \u003c\/span\u003e\u003cem\u003eCloud on Page Opposite\u003c\/em\u003e\u003cspan\u003e, Kylan Rice muses on his impulse “to think in terms of structure.”  That urgency is everywhere on display in this, Rice’s carefully composed third collection of poetry, which yearns toward the certainties of plumb-line and level. Structure proves here not to be some dry organizational principle but an instrument by which a poem (or a person) might prove true, might achieve fidelity:  the fidelity of a sign to a signified, of spouse to spouse, of human to God, and often all three of these in precarious palimpsest. \u003c\/span\u003e\u003cspan\u003eCloud on Page Opposite\u003c\/span\u003e\u003cspan\u003e enlists its readers in the labor of truing, ensuring that we remain ever mindful of the ways that a poem might mitigate its own artifice precisely by disclosing its costly engineering. —\u003cstrong\u003eKimberly Johnson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"padding-left: 40px;\"\u003e\u003cspan\u003eReading these poems one hears familiar cadences of earlier poetries played on a contemporary instrument. And if one wonders at the pertinence or necessity of such regular iambics (that do allow for the occasional trochee and spondee!) or the echoes of Hopkins’ sprung rhythm, one need only read on, to find in the intricacies of this living language, deep sincerity and active lyric thinking. And as with Hopkins, these odes delineate real-world observations transformed into a literary experience: the poem is real whatever the subject, and whatever the subject, the object is music and meaning in harmony, being hearing itself out, singing forward, landing on the right word\/thought as the form allows. The voice is burdened with concern, anxious with loving, and tasked always with transforming the shape of thinking into art. The effort here is not the transcendent release of Hopkins’s praise for god’s glory per se, but for the accurate record of being’s complexity, and thought’s involvement, and in the end for poetry’s true and timeless companionship, and that real consolation. —\u003cstrong\u003eMartin Corless-Smith\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"padding-left: 40px;\"\u003e\u003cspan\u003eWith \u003c\/span\u003e\u003cem\u003eCloud on Page Opposite\u003c\/em\u003e\u003cspan\u003e, Kylan Rice proves to me that he is our generation’s Donald Justice, not least with his preoccupation with “a certain light.” In electric language lean and textured, Rice steers us prosodically through “quotes and intertexts” that demonstrate his own depth of feeling, as though working over the very material of love itself, of literary creation and procreation, what living with these drives and questions might yet beget. Annotated with an antique care for verse, art, music, nature, marriage and the beloved, \u003c\/span\u003e\u003cem\u003eCloud on Page Opposite\u003c\/em\u003e\u003cspan\u003e gives us an extended view into a mind thinking his present, lets us see a poet reaching for his Notes app with a voice that’s as Romantic and discursive as it is tense with lyric teeming. Rice’s mind moves with what it sees and acts on what it feels, whether under the sign of the lurking hyperobject that it senses, like Dickinson’s loaded gun, or recovering the “I” to make a claim both for how to write and how to live. As indexical and approachable as A.R. Ammons, Rice’s unfurling lyrics let you ride along with them, draw you seamlessly into their glittering, elegantly complex thought. For Rice, and for us, the “light is late \/ but not too late.” —\u003cstrong\u003eAlicia Wright\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003eAbout the Author\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: right;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0050\/3028\/1251\/files\/Kylan-Rice_160x160.png?v=1704238024\" alt=\"\" style=\"margin-left: 5px; float: right;\"\u003e\u003c\/div\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eKylan Rice\u003c\/strong\u003e is the author of three collections of poetry: \u003cem\u003eAn Image Not a Book\u003c\/em\u003e (2023), \u003cem\u003eName \u0026amp; Earth\u003c\/em\u003e (2026), and \u003cem\u003eCloud on Page Opposite\u003c\/em\u003e (2027). He is an editor of Thirdhand Books and an assistant professor of English at Utah State University.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePhotograph of the author by Elizabeth Poindexter. Used by permission.\u003c\/em\u003e\u003c\/p\u003e","brand":"Kylan Rice","offers":[{"title":"Paperback","offer_id":44223956844579,"sku":"978-1-64317-641-3","price":135.0,"currency_code":"HKD","in_stock":true},{"title":"PDF","offer_id":44223956877347,"sku":"978-1-64317-642-0","price":80.0,"currency_code":"HKD","in_stock":true},{"title":"EPUB","offer_id":44223956910115,"sku":"978-1-64317-643-7","price":80.0,"currency_code":"HKD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0050\/3028\/1251\/files\/CloudOnPageOpposite.jpg?v=1794571909","url":"https:\/\/parlorpress.com\/en-hk\/products\/cloud-on-page-opposite","provider":"Parlor Press","version":"1.0","type":"link"}